In this sense, new journeys and plot twists become seen, perhaps tacitly, as invitations for improvement, and design practice is itself a continuous process of becoming.

Thus, journeys into the unfamiliar educate and strengthen the sojourner for future journeys

Repurposing conceptual tools may also follow a syncretic pattern, in which they are critically appraised with regard to their potential utility and modified to fit with the rest of a designer’s purposes in a given project.

This means, for example, that while traditional approaches may sometimes be totally rejected in favor of innovations, they may also, at times, be seen as having potentials that allow them to be repurposed into new resources that facilitate new practices, even if in limited circumstances.

lived and embodied rather than codified in a manual or textbook.

From this perspective, there is no design doctrine to be followed aside from the basic injunction to create what is most useful to students.

For instance, designers may not view their experiences narratively in the moment it may be only later, after some reflection, that they are able to discern the narrative structure of their design experience or articulate that experience in narrative terms.

the student is viewed as a protagonist in an unfolding storyline construed as a learning journey.

innovative learning in situ provides a progressing basis for improvements in designer practices, which informs how they can relate to future work, and might, in that sense, contribute to shifts in professional identity and practical wisdom over time.

This contribution is that of sojourner into the unfamiliar, or stated less metaphorically, a learner who explores and becomes familiar with situations in ways that produce the contextual (and possibly generalizable) knowledge needed to achieve a successful outcome, especially with regard to the formulation and working out of design possibilities.

frees designers from the need to innovate all aspects of their practice

Innovative learning, on the other hand, refers to becoming familiar with unfamiliar situations that have no clear precedent for action, or with managing familiar situations in better ways, such as seeking alternative solutions to existing problems.

Maintenance learning is clearly important, as it permits adaptation to circumstances using the accumulated accomplishments of others, including those of prior generations

That is, for an activity to count as design, at least some aspect of what is to be designed must not have been previously worked out; it must be unformulated and unfamiliar in some sense; otherwise, no design efforts would be required

there is little to indicate how the individual designer impacts upon or influences design. The problems that initiate design, the data that serve as evidence, the theories that justify decisions, the models that guide behavior—all of these are codified and exist outside of the designer. We are left wondering what, if anything, does the designer contribute?